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The
balzo
is a rotund feminine headpiece that originated in Italy during the early
1400's. It was worn during the first half of the century in conjunction
with the giornea
and
cioppa: women's overdresses that resembled
a houppelande at this time, usually pictured with dagged sleeves and a
train. The forehead was plucked at the time (as was done France and northern
Europe), and when worn with the balzo provided an elongated, but rounded
profile of the head. This is comparable to the hennin effect that was to
develop in gothic Europe, but was not as severe. Good examples of the original
balzo
can be seen in Pisanello's costume studies and in Paradiso by Giovanni
di Paolo.[1]

Later
on in the century, around 1470, the balzo seems to have fallen into
disuse, and the favored method of headdress is the reta (hairnet)
or trinzale (small cap), or dressing the hair via pearls and braiding.
This coincides with the more streamlined, though ornate, garments that
are worn by women at this time. The gamurra, cioppa, and giornea
are less flowing, and lack the voluminous sleeves and train that mark the
earlier dress style. The focus is on ornament, rather than oversize, and
the detail of this period can be seen well in the paintings of Ghirlandaio,
specifically the depiction of Giovanna Tornabouni.[2]

But
after the turn of the sixteenth century (approximately 1510), styles change
once again, and the body profile becomes much more dramatic. The ideal
woman is rounder and larger, as is the dress itself. The dress becomes
much more rounded and layers are not evident, although probably there.
The bodice is higher, the neckline low, with the chemise filling in the
gap. Sleeves are huge, and frequently puffy. To counterbalance all this
mass, the balzo makes a fashionable comeback, but is rounder and
worn more towards the front of the head.

It
is interesting how one's first perception changes after research is done.My
first encounter with the balzo in this period was the portrait of
a woman by Parmigianino.
[3] Boucher attaches the description "Turkish Slave Girl",
and it seemed to make sense at the time: after all, isn't that some sort
of turban on her head? And she did have a striped partlet, which seems
vaguely oriental. [4]The
next time I saw the balzo it was in Zeffirelli's Taming of
the Shrew. Elizabeth Taylor wears a gold wire example very similar
to Parmigianino's portrait. We costume critics watching the movie recoiled
in horror, and said, "what on earth is that? Now I know it is a
balzo and apologize for assuming it to be artistic license![5]

Although the shape is generally the same, there seem to have been two
or three terms used in period, which depended on materials used for construction,
or may have been simply regional language differences. Here are my definitions
gleaned from the sources I found:

Balzo is a term found in both 15th and 16th
century sources and can be applied somewhat generically to the shape current
at the time. In it’s original 15th century form it is large
and bulbous, not symmetrical, and back heavy. Height is an important feature
as it competes in the fashion world with the hennin (or sella –
“saddle” in contemporary Italy). In both centuries it is decorated extensively,
ornamented with jewels or enameled pieces, and can also be me of wire (in
the 16th century).

Ghirlanda (garland) takes it name in both periods (15 and
16th century) from its original nature – a garland of flower
or natural material simply worn on the head. This type of headpiece seems
to be typically gothic, and good early examples can be seen in the Tres
Riches Heures of the Duke of Berry.A ghirlanda
can be
a simple lightweight ornament (as in Botticelli’s Primavera), or
enormous and elaborate offerings made of peacock feathers. The ghirlanda
seems to mimic nature, and in the 1400s were also flatter than the balzo.
Although
the term ghirlanda can be found in both centuries, I am not aware
of it being used in the 16th century to denote this type of
structured headpiece. I assume the term reverted to its more natural and
original form.

Capigliara is mentioned in 16th century texts and seems
to be of the ruffled, lacy or fluffy type with an outer covering of silk,
and the balzo is a more general term for a headpiece of this nature,
or one which has a smooth, though ornamented, covering. Again, I have made
this distinction for my own convenience, based upon my own research: others
should not take it as fact. Therefore I deem the headpiece that I have
created for this project to be a capigliara, modeled after Bernardo
Luini's Portrait of a Lady. [6]Capigliare
also seem to have been made of false hair and perhaps curled floss or wool.They
have certainly given their creators a vent for imaginative efforts, and
the balzi can be quite modest in size or absolutely enormous.

REFERENCES IN VARIOUS
SOURCES

Milia
Davenport gives the balzo brief mention:

"The turbans which the Italians
always loved, but had abandoned during the transition period for tiny caps
covering only the back of the head, return in the 16th century, in higher
round forms, ruffled, netted and knotted."[7]

Jacqueline Herald examines the 15th century
version and says:

"On her head, and Italian woman might wear
a ghirlanda (grillanda) or a balzo, both of which appear early in the century...
A balzo is a bulbous headdress, consisting of a wire or possibly willow
understructure, which was then covered by textile. Both ghirlanda and balzo
were often covered with gems, usually pearls, and with velvet or often
some more lavishly figured textile. [8]
… Amadeo of Savoy also forbade women to wear tall hairstyles in horns,
or rounded into some deformative shape.[9]…
As the whole shape of the both male and female costume added more width
to its height, so the padded roll of the ghirlanda grew into the bulbous
balzo. One of crimson, covered in pearls, was given by Francesco de’ Medici
in 1432 to his betrothed, Costanza, and is probably one of the earliest
references to this fashion. However, there are more documentary references
to ghirlande than to balzi: although an earlier form of headdress, the
garland did not go out of fashion."[10]

In the Heraldvolume is also a very valuable
picture not found in other sources (that I recall) of the understructure
of the balzo: she says that it is “probably made from steamed and bent
willow” (and I agree from reconstruction exercises – see attached instructions). [11]

Herald provides a definition in her excellent glossary
of Italian Renaissance costuming terms, in which she provides information
on false hair simulation:

"A large headdress, rising up in a rounded
form from the forehead, completely hiding the female wearer’s hair (the
hairline having been plucked back to create an artificially high forehead).
The shape of the headdress is founded on an understructure, probably of
willow, which is covered by a rich textile and alternatively by false hair
of white or yellow silk, or by real hair (capelli morti) (“dead” hair).
The balzo then may be decorated further with ribbon or braid. The fashion
for balzi is peculiar to Italy, and to the first half of the Quattrocento"[12]

Storia
del Costume in Italia by Rosita Levi-Pisetsky has proved invaluable. [13]
I have translated the following extracts somewhat awkwardly, but I wanted
to avoid mistranslation of words that are no longer in use in the Italian
language.

Volume 2, 15th Century: From Description
of Masolino da Panicale’s Herodiade – detail of a fresco “Salome before
Herod” 1435 Battistero, Castle Olono, we have a description of how
the balzo balanced the exposed forehead and neckline:

"The delicate stance of the figure
of Herodiade, almost completely in profile, dressed according to the purest
style (taste) of the first half of the 1400s, permits one to better observe
the balzo form that, being rounded, enlarges almost to the point of a reversed
cone. The manner of wearing it to the back, leaving completely uncovered
the artificially higher and plucked forehead, corresponds to the neckline
that sinks below the nape."[14]

From the description of fresco detail “April”, circa
1430, attributed to Niccolo Miretto, Palazzo della Ragione, Padova, we
get a sense of decoration and use of the balzo as a matching accessory
to the garment:

"The balzo, the typically Italian
hairstyle, with it’s round mass often adorned, like in this example, by
jeweled stripes, underlines the bizarre and fantastic character of the
gothic style of dress. The beautiful ling trained cotta, with sleeves of
the same color as the balzo, harmonizes with the headdress."[15]

The description of Gentile da Fabbriano’s detail
of the Presentation at the Temple, circa 1423, Louvre Paris provides
commentary on materials and the features of the balzo versus the ghirlanda:

"The ghirlanda in the 1400s have assumed a
rotund shape that approaches the balzo, although they distinguish themselves
because they are flatter. Under this name come, in fact, massive headdresses
decorated with flowers and leaves of enameled gold, or also of peacock
feathers, interspersed with precious ornaments. The elegant headdress harmonizes
with the sumptuousness of the velvet giornea, pavonazzo(peacock style –
dagged?), elegantly slit and trimmed with ermine. The other older woman
figure has her face framed with a simple veil turned into the style of
a hood and tones down the sumptuousness of the blue silk cioppa with pink
roses and black mantel."[16]

Levi-Pisetzky also covers the general topic
of the 15th century balzo thus:

"The balzo is another gorgeous
headdress, but typically Italian, elevated, of a rounded form, and made
of precious fabrics wrapped in the style of a turban. In the 1500s Veccelio
speaks of it like and ancient (old) fashion: in Italy the women “wear on
their heads balzos of varied colors, and worked of cloth of gold and of
silk with rose petals and other works.”[17]
In (his) engravings we often see clearly drawn this headdress, but the
fantastic majesty of the balzo, that by contrast gives a wondrous grace
to the face, resulting particularly in the frescoes of the Palazzo Borromeo
and of the Casino di Caccia (Hunting Lodge?) of Oreno, as in the vivid
painting of the wedding chests (cassoni). The ghirlanda of peacock feathers
assume the same rounded and massive form, Matteo Parentis, as we know from
the scrupulous notes of his housebook, bought “500 choice peacock feathers,
300 assorted peacock feathers”, besides eleven roses of peacock feathers
and enameled flower, golden leaves and pearls for his wife’s (wedding gift),
Caterina, daughter of Allessandra Macinghi Strozzi.[18]
One clearly imagines this headdress that appears in the note picture (tr.??)
of the Adimari wedding: the beauty of the ghirlanda comes out more than
of the line (?), although heavy for our taste, from the lustrous green
and blue of the feathers, “all eyes and gems”, as says a Latin poet, in
contrast to the delicate feminine complexion. Also common are the ghirlanda
or crowns of natural flower. The Botticelli figures are often crowned with
light garlands, their foreheads characterized by a soft melancholy."[19]

Levi-Pisetzky, Volume 3, 16th Century:

"Of
a totally different nature, heavy and pompous, is the capigliara that appears
in the portrait by Tiziano in Vienna. Rotund, enormous, this headpiece
stands between the wig and the hairdo. Eleanora Rusca, Countess of Coreggio,
having seen it "worn by gentlewomen" defines it as "a new longhaired fashion
of silk that comes as a notable invention" by the Marquessa (Isabella d'Este),
and asks her for one as a gift "that may not be in use...in order to measure/trace
it accurately". Evidently Isabella conceded the privilege of wearing the
capigliara only to certain preferred ladies.

To
our eyes this headdress seems a simple refacing of the 15th century balzo,
with which in fact the Molmenti (?) confused it. But in comparison to the
balzo it is most exaggerated, bundled with ornaments, more crushed and
worn further back; in a manner in which the bands of hair in the front
remain uncovered; and came quickly into fashion. Of the rest even the balzo,
that Vecellio recorded as a fashion totally of the 1300-1400's, had not
gone completely into disuse by the beginning of the century. In fact, in
1530 Battista Stabellino, one of the informants of Isabella, giving her
the news of a ball held at the court of Ferrara, describes the Queen of
Naples daughters "dressed in our fashion with balzo and scoffiato (?).The
singular headdress, was therefore of properly Italian character.

In
a return to the past another headdress also appears, vaguely resembling
the hennin for its height, which according to Vecellio was in vogue around
1530: "about 60 years ago the Venetians began to reuse cages of branches,
covered with caps made of gold nets, decorated with varij (jewels?), and
rich ornaments", and a 'lovely black veil/cloth, of transparent silk, that
covers them in front'."

Vecellio
has
provided us with two examples of the balzo of this time period, in plates
39 and 71.[20]

This project began with me trying wall wreaths on my head in the craft
shop. It must have looked pretty strange to other customers, but it paid
off in the end. This was the first piece of garb or accessory that I had
to
cook
in the creation process, but I believe the method,
structure and appearance to be period. Having now made several balzi and
taught a few classes in it, this is an updated set of instructions. Do
not be deterred by the amount of instructions here – the process is very
easy but I wanted to be as explicit as possible. Making the frame can be
done in an hour or less.

Considerations:

First, decide on the century and shape of the balzo to be created. You
will need to gauge the overall size of the piece you want to create in
relation to your own head. Balance and proportion are important, as I found
from creating a too-large version. If you are imitating a picture, then
measure the face in the picture and measure your own (forehead to chin).
Remember that 15th century foreheads were plucked and therefore
higher. Create a scale to use to estimate the size of the balzo : for example:
the face in my Pisanello picture was 2 cm tall. My face is approximately
10” tall. Therefore, the scale I used to measure the pictured balzo was
1 cm = 2 inches. The 15th century balzo measured approximately
the same as the exposed face, so my frame was about 10” tall, or 23” inches
over the top. (See measurements below). The height and shape of the 15th
century balzo are the most important issues. Width seems to fall into place
naturally. Likewise, in the 16th century flatter version, the
width is the most important, as the height seems to follow naturally. My
16th century frame measured 20” over the top – I would not go
much larger than that, if at all.

Weight is extremelyimportant! Having created a small
15th century monstrosity the first time that weighed in at a hefty 20 oz.,
I know from experience. The 15th century style in particular will be very
uncomfortable at a heavy weight, as it will give you a headache and be
hard to keep on. The 16th century model I made is only 4 oz., and feels
great. Make sure your frame style is correct and do NOT add padding to
change the shape. Instead, correct the frame.

You should definitely consider how you will wear your hair underneath
the balzo. In the 15th century, foreheads were artificially
high and plucked, but all hair is smoothed back and not visible under the
balzo. In the 16th century the hair was parted in the middle,
and slicked down, frequently covering the ears. There might be a couple
of curls plastered to each side of the forehead. For the 15th
century, I would recommend hairtaping[21]
a braid around your head with a ribbon, as this provides an ideal base
for a balzo, particularly one that is a bit large. I have also worn my
hair this way with the 16th century model, but also in a high
bun at the back. Either way, it is important to do your hair in a period
fashion, at least the hair that shows, so your finished look is not odd!
No curls or long hair dangling down, please! (A good website on this can
be seen at http://www.mfgraffix.com/hird/faoilt/hairtape.html,
the website of my good friend and costuming colleague, Lady Faoiltighearna
MacQuarrie (mka Margo Farnsworth)).

Facilities/Materials needed:

Facilities:
Just to mention that you will need a kitchen or area
where you can boil water in a big pot in order to keep the reed steamed
and flexible while constructing the balzo.

Framework:

Flat basket weaving reed is the best choice – ½” for base around
head, about 2 yards, and thinner reed (1/4” or 3/8”) for the rest of the
frame -about 6-8 yards If you can only find one thickness, that is fine
as you can easily split it or double up for stability. OR a few branch/grapevine
wreaths ½ - 1 cm in diameter. The wreaths can easily be found in
craft shops, but the flat basket weave takes a little more searching. Note:
Reed requires less work and less steaming than the branches, as well as
being able to be folded around the frame without breaking. Hence it is
the preferred material. The branches create a bumpier frame requiring more
work to smooth out with coverings. Thin White florist wire (22 gauge, 18”
length covered with white thread) available in craft shops is preferred
as it twists easily and cuts with normal scissors OR Thin beading wire
OR Twisty ties (wire variety)

Linings and Coverings:Cotton batting (preferred) or Fiberfill
batting if you are doing a smooth covered balzo Padding:
for the frame around your face. This is only a narrow piece of springy
wool or cotton batting, about two inches wide and as long as needed to
make your frame fit snug but comfortably – one length around or two. Overlining:
Natural fabric – approx 24 – 28” circle (depending on frame size) or ¾
-1 yd. Can be open weave wool, cotton or linen. Remember this goes on your
head and should be able to breathe! I used a open weave wool. Lining
next to your head: Natural fabric approx 18-20” diameter circle. Do not
choose a “slidy” fabric for this, as you want it to grip your hair and
not slide off.I used black cotton for one balzo, for the other a dupioni
silk that matched my dress. Covering materials – fabric, false hair,
feathers, fabricated or natural garland, etc. For the ruffled 16th
century capigliara covering, use a 45” circle ofplain smooth silk
, not slubbed, rough, raw or dupioni.

Construction:

Uncoil the flat reed or wreaths, and place them on a vegetable steamer
in a very large pot with a couple of inches of water in it.The vegetable
steamer helps keep the reed from getting very hot in the water, but is
not essential. The pot needs to be very large, as the whole balzo will
need to be placed in it repeatedly. If you don’t have an oversized pot
you can still do this but will not be able to steam the whole balzo but
could soak it in a sink. Steam the reed until soft, about 15 minutes to
1/2 hour.

Step One – Making the Base:

Make the base out of the wider reed (if you have it) or thicker
branches using about three coils around the head, with enough room for
your hand to slide through flat. My head measures 22 ½” and my frame
measured about 24”. Secure the base with wire in the front and mark the
front with a magic marker!!

Step Two – Making the Vertical Framework

Leaving the thinner reed in the pot to steam, take out a length
at a time, and start bending it over the frame back and forth. Originally
I cut the reed to be flush with the base, and although this is a little
neater, it is not actually correct. The sketch of the 15th century
balzo frame shows the material being weaved into a cross hatch pattern,
and this requires folding under the frame and coming back up. However,
either method will work, so you can cut it if you wish, but be sure that
your ties are tightly secured or the upper frame can separate from the
base. I recommend cutting the first tow pieces so you can get a more exact
height or width, and then wrapping the rest fro security. Once you wrap
the reed it breaks down the fibers and weakens it, so you do not want to
keep redoing it Secure each cut cross-section to the base with some wire,
crossing over the reed on top, and behind/under the reed on the
bottom to be secured, then twist together. This should form an “X” pattern
that holds it in place

I found that at least twelve vertical strands are necessary for stability.
This equates to six pieces going over each side. At this point (or whenever
the structure starts to feel brittle), throw the whole thing back in the
pot to soften it up. Start your shaping by bending the base into an oval,
and start pushing on the back or front to get it molded into the right
shape. This will get better as more cross pieces are added and the gaps
become smaller, but shaping is necessary.
For the 15th
century version, push the front backwards and the back of the frame in
to create a slight bulge. For the 16th century version, push
the crown down with some force, as this should not be totally round, but
somewhat flattened.

Step Three – Adding the Horizontal and Bands

Taking a long piece of willow, weave it around the outside
of the "cage", filling in the gaps somewhat. Make at least two of these
horizontal rows, each about a third from crown and base, with no more than
about 2” between each area. Secure all joins with an “X” of wire so that
the structure is sound. Throw the whole thing in the pot to soften up and
mold it by pressing and tightening joins to get your shape right. Let it
sit in the air to dry, but check on it from time to time to keep the shape
intact. Your finished frame should retain its desired shape.

Step Four – Covering the Frame

Note: Do NOT add padding or any additional weight unless you
really need it. These things can get heavy depending what you cover them
with! Cover the outside with a natural material as suggested above. The
easiest shape is a rough circle wrapped round the underside of the base
and sewn to itself on the inside. Else a rectangular piece can be gathered
along one side for a more elongated balzo. Either way you will have to
take a few tucks or gathers around the base. The easiest way to do this
is with a rather large sewing needle and going in and out of the balzo
frame. Note: If you want a smooth balzo with only this as a final covering,
put on the base padding and inside lining first (see next steps).

Cut a piece of springy fabric for padding the base to fit around your
head, pin and whip stitch it to either side of the base, attaching to the
outside covering. This can also be done first, I just find it easier to
sew it to the outside covering. Cut a smaller (16-18” diameter) circle
of cloth for the inside lining. Wrap the edges of the circle around the
outside of the frame (over the padding), and pin on, adjusting to fit your
hairstyle. This lining will not go all the way into the frame, as you do
not want your head floating around in the balzo, but rather supported by
the inner lining. You may wish to gather it more at the back than the front,
in order to accommodate your hairstyle if a bun. Secure the lining by stitching
above the inside band, going in and out of the balzo frame. Also, take
a few tacks through the upper part of the balzo so the lining does not
sag down on itself when off your head.

Step Five – Decorating: The final covering

You can really use some imagination here, but there are many
examples in period of garland, feathers, false hair, gems, wire, etc. I
recommend finding an example to follow, but have provided two methods here.
In either method, make sure your front is marked, as it does tend to get
lost.

To cover the 15th century balzo with false hair and braid
with ribbons:

Obtain false hair from a beauty supply store. You may wish to get a
couple of hairnets too, in order to control flyaway hair. Note that blonde
hair was preferred in Italy during this period. I got a “deluxe braid”
of “Kanekalon” synthetic hair and found that it weighs quite a bit (3 oz),
so use one package for the covering and one (or less) for making the braids.
Starting at the back, spread the hair over the balzo and pin strategically
to cover the lining. Don’t lose your pins in the hair! Use transparent
nylon thread to baste it on around the base (but slightly above the edge)
and at necessary junctures. Stay away from pin cushions and plants! They
will get tangled in the hair! You can cover the false hair with a couple
of hairnets to control the frizzing. Make a few long braids with the other
skein of hair, interweaving ribbon into the braids (I used two colors that
matched my dress). See the diagram or Pisanello’s costume sketches for
placement of the braids. Secure with transparent nylon thread. You can
put an ornament at the front if you wish. Be prepared for many Marge Simpson
and Bride of Frankenstein comments!

For the 16th century ruffled
capigliara:

Cut a circle of silk 45" in diameter. Sew twelve machine basting lines
in concentric circles, about two inches apart. This does not have to be
extremely precise, but I marked mine in chalk first. Start gathering the
circles from the center working out, using the balzo frame as a reference
for size of each circle. When it is looking very strange (tee-pee in shape),
and all the circles have been gathered roughly, pin the silk to the balzo
starting at the outer edge. (Leave the gather threads loose for now). Remember
that the first four or five rows are most visible, and adjust the ruffles
as best you can. Each two inch circle should be spaced roughly one inch
apart, creating the ruffle. Starting at the (raw) outer edge, fold it under
at the outside of the headband, and start tacking it to the band. Work
entirely around the row, adjusting ruffles as you go. I used a backstitch
for security. For each successive row: tie off the gather threads, matching
the balzo edge as closely as possible. Tack over the gather stitching,
adjusting the ruffles and pins where needed. Fluff the ruffles when complete,
and add some sort of ornament to the center front, as this was the focal
point of the head piece.

[1]
Chantilly, dating to 1440, and the Metropolitan Museum, New York, dating
to 1445: respectively. See attached copies. Signora Capulet also wears
a balzo of this type in Zeffirelli's production of Romeo and Juliet
during the ball scene.

[4]
Francois Boucher, 20,000 Years of Fashion, (New York, 1987) This
description seems to have been Boucher's alone, as I have not seen it repeated
anywhere else. However, it does remind me that the phrases that are attached
to portraits usually are not assigned by the painter, but rather
by his audience, with their own prejudice.

[5]
I now find that the majority of Zeffirelli's costumes are extremely accurate,
although his heroines tend to be far too curvy. As his costumers for Romeo
and Juliet and Taming of the Shrew are both Italian, I now believe
that they have far vaster resources for their research than I , and so
I will happily refrain from criticizing further! Note that Juliet's mother
wears a 15th century balzo in Romeo and Juliet.

[6]
National Gallery of Art, Washington, D.C. Circa 1517. Her
capigliara
appears to be of light colored silk, ruffled (shirred) in the same method
as sleeves in period (Lucrezia Panciatichi and other Bronzino portraits
in the Uffizi Galleries, Firenze). See reproduction

[8]
Jacqueline Herald, History of Dress in Renaissance Italy 1400-1500 (Atlantic
Highlands, 1980), p. 50. There is also pictured a fresco(?) from the Tuscan
school, circa 1430, which shows the understructure of the balzo, "probably
of steamed and bent willow".

[9]
Herald
references Levi-Pizetsky for this part, but I have not yet found it in
the LP text.

[18]Get
Footnote 190 from LP . This inventory is further listed in Herald, page
244, and includes materials needed for a cotta and giornea,
in addition to prices paid.

[19]
Levi-Pizestky,
op cit., pp. 292. Note that I am not clear on the text regarding the Adimari
wedding chest – I cannot tell, whether this is cited somewhere, and thus
imagined, or is an actual chest that still exists. If so, I would like
to find out where it is!

[20]
Dover Press, Vecellio's Renaissance Costume Book (New York, 1977).
The accompanying descriptions are written as "Dogalina for noblewoman's
streetwear" (#39), and "Old costume worn in Venice and other parts of Italy"
(#71). Unfortunately, all the text that is quoted by Levi-Pisetzky is not
included in the Dover edition. Although Vecellio's woodcuts are very suspect
for periods outside of his own lifetime, and foreign lands (especially
America!), he is fairly reliable for Italy in his own lifetime, and neighboring
countries.

[21]
Hair taping was done with bende, thin ribbons of linen or silk,
that secured the braid or styled hair to the head. The style is evident
throughout the middle ages and renaissance and can be elaborate or simply
practical. It is exceptionally secure and requires about a yard of ribbon
for the average head of hair. I have also done it with hair cut above the
shoulder. This provides a better, more even base for wearing most headgear
of the period.

EXAMPLES FROM HISTORY(Photos taken from various online and other sources for research purposes
only)

Detail: Salome before Herod, by Masolino da Panicale 1435, Battistero,
Castello Olono. You cannot see it very weell, but they have actually put
a crown (!!) on top of her balzo. I did not see this until I bought the
wonderful Italian Frescoes book which shows it in better detail. Once you
wear a balzo this size you will realize that a crown would never
stay on!